Marta Rewrites the Rules with ‘Wrong Woman (According to the Rule Book)’

Latvian pop powerhouse Marta is stepping into a bold new era with Wrong Woman (According to the Rule Book)—her debut full-length English-language album that refuses to play by anyone else’s expectations. Blending punchy pop-rock energy with raw emotional honesty, the record captures both defiance and vulnerability, as Marta challenges societal norms and reclaims her narrative as an independent female artist on a global stage. From breaking industry “rules” to embracing every side of her identity, this is Marta at her most fearless—and most authentic.

Your album Wrong Woman (According to the Rule Book) explores breaking societal expectations—what “rules” did you personally feel most driven to challenge while creating this project?

As a female artist from a small country (Latvia), who’s also a mother of two and in her 30s, without coming from money or having label support, I’m really doing something quite unconventional with this project. There are still so many unwritten rules and expectations about what a situation like this should look like — what the “right thing” for me to do would be. Stay in my lane, keep making music in Latvian, don’t dare to dream about an international career. But just because something is unexpected doesn’t mean it’s wrong or impossible. Who decided that? Who made these rules?

You describe this album as pushing you out of your comfort zone—was there a particular song or moment during the process that felt especially transformative for you as an artist?

So much has happened during the creation of this album. It started with simply daring to take the first step — putting out my first song in English — and realising that I can do it, and that there are people out there who connect with it.

Creatively, working in a new language feels like stepping into a whole new playground. There’s so much to explore. I also had the chance to do so many songwriting sessions with new people — just being in those rooms wouldn’t have happened if I hadn’t taken that risk.

With every step, I’ve become more creative, more confident, and more curious about what else is possible for me.

Sonically, I’d say Cool is my bravest song to date — I’m really proud of how different it is. Emotionally, A Little Blue is a personal favourite and probably the most vulnerably honest thing I’ve written so far.

And hearing Villain of the Day played on BBC Radio 1… that’s the kind of moment that changes something in you permanently. It makes you think — okay, I must be doing something right. There’s no looking back now, only forward.

The album blends defiance and vulnerability across Part I and Part II—how did you approach balancing those two sides of your identity in a cohesive narrative?

My life is a bit of a rollercoaster, and so is my music. I’m a very emotional person — I experience both the highs and the lows quite intensely. The only way for me to be truly myself as an artist is to embrace all of it. Some songs might feel quite different from each other stylistically, but I think I’m the thread that ties them together.

This album holds all sides of me — the love, the passion, the doubt, the confidence, the joy, the sadness, the rebellion. It’s all there, because it’s all part of who I am.

“Rule Book” feels like a bold, rebellious anthem—what message do you hope listeners, especially young women, take away from that track?

There are still so many unwritten rules that girls and women are expected to follow, and honestly, it drives me mad. It feels like we can never be the right age, never quite do the right thing. No matter what we say or do — or don’t do — we get criticised. Our worth is often tied to unrealistic beauty standards, and it can feel like we’re walking on thin ice just by existing. And if we dare to speak up about it, we’re quickly labelled as “too much” or “triggering.” In Rule Book, I’m kind of poking fun at all of this — presenting it in a slightly ironic, lighthearted way — even though the issue itself runs much deeper.

You’ve built an international audience while coming from Latvia’s music scene—what challenges and opportunities have you faced as an independent artist breaking into a global market?

When I started writing in English, I had already spent about eight years in the Latvian music industry, so that experience definitely helped. But I also quickly realised that I was very tied to Latvia algorithmically — it’s not easy to reach new audiences internationally when platforms already categorise you in a certain way. That’s been challenging, but not impossible.

Everything I’ve achieved so far, I’ve had to figure out myself. There hasn’t really been a clear path or someone to ask for guidance, so it’s meant countless hours not just making music, but also researching, networking, reaching out, and building connections. In many ways, it feels like starting from scratch — like being a new artist, but with experience.